Thematische Bibliographien / And the Alkazi Collection of Photography

Auswahl der wissenschaftlichen Literatur zum Thema „And the Alkazi Collection of Photography“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "And the Alkazi Collection of Photography"

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Choudhury, Deep Kanta Lahiri. „Rosie Llewellyn-Jones, ed., The Alkazi Collection of Photography: The Uprising of 1857“. History and Sociology of South Asia 12, Nr. 2 (29.05.2018): 178–82. http://dx.doi.org/10.1177/2230807518767712.

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Wagner, Kim. „Rosie Llewellyn-Jones (ed). The Uprising of 1857: The Alkazi Collection of Photography“. Asian Affairs 50, Nr. 1 (Januar 2019): 157–59. http://dx.doi.org/10.1080/03068374.2019.1567134.

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Mukherji, Saradindu. „Book Review: Rosie Llewellyn-Jones, The Uprising of 1857: The Alkazi Collection of Photography“. Indian Historical Review 45, Nr. 2 (Dezember 2018): 307–10. http://dx.doi.org/10.1177/0376983618804054.

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Robinson, Francis. „ROSIE LLEWELLYN-JONES (ed.): Lucknow – City of Illusion: The Alkazi Collection of Photography. 295 pp. Munich and London: Prestel, 2006. £50. 3 7913 3130 2.“ Bulletin of the School of Oriental and African Studies 70, Nr. 1 (Februar 2007): 177–79. http://dx.doi.org/10.1017/s0041977x07000213.

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Branfoot, Crispin. „George Michell (ed.): Vijayanagara: Splendour in Ruins. 250 pp. Ahmedabad: Mapin Publishing and The Alkazi Collection of Photography, 2008. ISBN 978 81 89995 03 4.“ Bulletin of the School of Oriental and African Studies 72, Nr. 1 (Februar 2009): 189–91. http://dx.doi.org/10.1017/s0041977x09000263.

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Robinson, Andrew. „Sudeshna Guha (ed.). The Marshall Albums: photography and archaeology. 288 pages, 130 b&w & colour illustrations. 2010. Delhi: The Alkazi Collection of Photography in association with Mapin & Ocean Township (NJ): Grantha Corporation; 978-81-89995-32-4 (Mapin); 978-1-890206-45-1 (Grantha) hardback £45.“ Antiquity 85, Nr. 329 (August 2011): 1093–94. http://dx.doi.org/10.1017/s0003598x00068617.

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Knight, Lionel. „The Marshall Albums: Photography and Archaeology. Edited by Sudeshna Guha with contributions by Sudeshna Guha, Michael S. Dodson, Tapati Guha-Thakurta, Christopher Pinney, Robert Harding. pp. 288. The Alkazi Collection of Photography in association with Mapin Publishing with support from Archaeological Survey of India. Simultaneously published, Ocean Township, New Jersey and London, 2010.“ Journal of the Royal Asiatic Society 21, Nr. 3 (Juli 2011): 386–88. http://dx.doi.org/10.1017/s135618631100037x.

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Lugon, Olivier. „Photography and Scale: Projection, Exhibition, Collection“. Art History 38, Nr. 2 (22.03.2015): 386–403. http://dx.doi.org/10.1111/1467-8365.12155.

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Panzer, Mary. „The George Kendall Warren photography collection“. History of Photography 24, Nr. 1 (März 2000): 24–30. http://dx.doi.org/10.1080/03087298.2000.10443357.

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Šejbl, Jan. „The Náprstek Museum Photography Collection – An Assessment Based on Collection Records“. Annals of the Náprstek Museum 40, Nr. 2 (2019): 69–94. http://dx.doi.org/10.2478/anpm-2019-0016.

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The study deals with the Náprstek Museum ethnographic photo collection. In order to obtain detailed knowledge of the composition of this collection, an analysis was performed using digital data records obtained through an export from the collection database. The data was then edited using MS Excel with the Contingency Table and Contingency Graph tools. The analysis focusd on the perspective of geography and chronology, originator and the type of photographic material in question. Obtained data clearly shows the percentage of each pursued characteristics and allows to combine them and compare the photo collection as a whole with the other part sof museum’s collections. The analysis method can be also used for another collections as well.
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Dissertationen zum Thema "And the Alkazi Collection of Photography"

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Cleveland, Larissa. „Collector : collection/possession/persona /“. Online version of thesis, 2008. http://hdl.handle.net/1850/6186.

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Schrader, Julie Ann. „The Morgan collection of Southwest pottery website : research and photography : a project /“. Click here to view virtual exhibition, 2005. http://www.holmes.anthropology.museum/southwestpottery/index.html.

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Wang, Han-Chih. „The Profane and Profound: American Road Photography from 1930 to the Present“. Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.

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Art History
Ph.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses
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Stead, Sarah. „PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION“. Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.

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Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Walton, Elizabeth. „TRUTHS, REALITIES AND THE EASILY TRANSMITTED IMAGE“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3922.

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By the documenting and examining things that are often overlooked in everyday life, I try to find the beauty of these objects, of people, their lives and their homes. I am interested in the current technology and the influence of the easily transmitted image. What is the truth and reality of the images shared by the current youth culture because of the use of camera phones, digital image takers, and the constant image transmissions through online social networking venues such as My Space and FaceBook? The current digital image is no longer a precious object as it was in the past. The easy accessibility of technology and the growing popularity of an affordable camera have made these images a common object, easily replaced. It is my interest or concern with this technology that led me to my final body of work, images of this youth culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Fullerton, Jeanay. „VISUAL STAMP“. Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4017.

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I create images in a painterly manner illustrating a visual dialog, which suggests simultaneous moments, yet are actually a separated collision of moments and time. I have stretched these ideas from a slowed manipulation of time, to a calculated capture of segmented moments. My work undermines the importance of the decisive moment theory. This theory was the catalyst for my new series, VISUAL STAMP. "The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." - Henri Cartier-Bresson I am conveying space and time on a single plane in a similar way to how we perceive, process, and retain information visually. The discarded moments in our perception are what I am interested in capturing. We do not view life in a frozen millisecond. Contemporary modes of perception involve the sensorial experience of viewing thousands of movements in small bursts of time that are often left behind, and forgotten. By layering images I am illustrating gaps from one moment to the next. My interest in using the insignificant event to create an aesthetic has become a personal visual stamp. This series embraces the discarded aspects of our visual interpretation of the objects and places we see in everyday life.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Van, Camp April. „MEMORIES AND MILESTONES: THE BRIGHTON SEMINOLE TRIBE OF FLORIDA AND THE DIGITIZATION OF CULTURE“. Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3415.

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This dissertation project discusses individual photographs of the Brighton Seminole Tribe of Florida from the early 1900s to the current period, each organized by way of their institutional significance, not their place in chronological history. Following Jean Mohr and John Berger's model in Another Way of Telling, I create a narrative for the pictures with a discussion of historical information, current data from interviews, Tribal members' stories, and my own personal story as it is tethered to the tribe. The research addresses the following questions: Can photography offer a technological means to communicate culture in a vital, organic way? Can photos communicate culture as identity and not something merely to identify with? Can this cultural identification include me, an outsider, and is it possible that a colonialist viewpoint is actually beneficial to the tribe? John Berger, Roland Barthes, and Gregory Ulmer's theories allow opportunity for new perspectives, and even would-be answers at times. Admittedly, there is no frame large enough to hold all of the truth, but these theorists' works push the frame's boundaries to look at the pictures from other perspectives, other as both different and from the outside. These critics offer light and air, posing questions such as, what assumptions help a viewer transcend the normally limited perspective of a superficial observer? What possible contributions might an outsider bring to the interpretation?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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balas, simona. „SERIES OF DISINTEGRATED MEMORIES“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3461.

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Being absent from things or places for a period of time, we try to connect by revisiting our memories. There is always a vivid remembrance of certain objects or surroundings, but when we try to connect them, the truth in our mind deviates from the reality. The disintegration of the memories and the morphing of our imagination create a different reality in our minds that we begin to believe, considering that the truth becomes almost completely abstracted and obscured as time passes.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Kulbaba, Brian. „WITHOUT A CAMERA“. Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4046.

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The method for creating my art is a matter of experimental process, manipulation of photographic elements, and time spent. I am a photographer in a digital age that does not use a camera. My moment of creativity occurs without the snap of a shutter, but relies on my understanding and control of the chemical components of photography. My work deconstructs the notion of duplication commonly found in photography. The procedure can be repeated but the results are variable. The process of creating my work often results in a multitude of prints, but the pieces that I select as art capture a number of instinctive characteristics which convey an emotion or message to me. When I present my photographs I offer the viewer an experience--an opportunity to see the work through my mind's eye as it makes sense to me. It is within this open dialogue that the work is complete: part process, part intuitive participation.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Ebner, Bonnie. „MANY TELLING MOMENTS:THE ESSENCE OF FRAGMENTED IMAGE CULTURE“. Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3376.

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My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Bücher zum Thema "And the Alkazi Collection of Photography"

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India, National Museum of. Imaging the isle across: Vintage photography from Ceylon. New Delhi: National Museum, 2015.

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Denver Public Library. Western History/Genealogy Dept. und Colorado Historical Society, Hrsg. The photography collection. [Denver]: Western History/Genealogy Department, Denver Public Library, 1995.

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Kim, Jee Won. Photo collection. Seoul: MUG Pubishing, 2015.

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Lind, Peter. Reverse collection. [Copenhagen]: [Peter Lind], 2018.

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Moynihan, Danny. Private collection. London: Other Criteria, 2008.

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Lee, Rotenberg Mark, und Mirsky Laura, Hrsg. The Rotenberg collection. Köln: Taschen, 1999.

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Khatir, Reza. Selections 3: From Polaroid Collection. Herausgegeben von Billeter Erika 1927-, Hitchcock Barbara, Wassermann Peter, Furrer Markus und Polaroid Corporation. Schaffhausen: Verlag Photographie, 1986.

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Kyu-hyŏng, Kim. Seoul snap: Seoul photography collection. 8. Aufl. Sŏul-si: 1984, 2018.

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Haak, Ken. Private collection. New York: Rosehill Press, 1986.

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Penn, Irving. Irving Penn: Collection privée : privatsammlung. Fribourg: Musee d'art et d'histoire, 1994.

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Buchteile zum Thema "And the Alkazi Collection of Photography"

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Wells, Liz. „Speaking of this Collection“. In Photography, Curation, Criticism, 18–30. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-3.

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Kingstone, Helen. „Photography Remediated in the Crimean War: Illustration, Exhibition and Collection“. In Panoramas and Compilations in Nineteenth-Century Britain, 109–44. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15684-7_5.

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Nikielska-Sekula, Karolina. „“Have You Just Taken a Picture of Me?”: Theoretical and Ethical Implications of the Use of Researcher-Produced Photography in Studying Migrant Minorities“. In IMISCOE Research Series, 31–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_2.

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Abstract This paper aims at discussing the value of researcher-generated visual methods in studying migration. It focuses on photography as a data collection method, and the problem is presented in the context of researching urban and rural arenas of exercising transnational belonging by migrants and their descendants in new and ancestral homelands. Photography is approached here as a sensorial experience mediating a relationship between the researcher and the participants. The author argues that the relationships occurring around photo-taking in the field are as important as the data collected intentionally. Moreover, the chapter discusses ethical questions prompted by the employment of visual methods, problematizing them in a context of different social, cultural and national settings. With this chapter, the author attempts to answer a question whether researcher-generated visual data can open new angles of analyses of migrants’ life-words and how the employment of visual methods can influence theoretical perspectives within migration studies.
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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri und Elina Moraitopoulou. „Educational Commons in Art Museums“. In Educational Commons, 151–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.
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Hargis, Kristen. „Practicing Climate Action in a K-12 School Using a Whole Institution Approach“. In Sustainable Development Goals Series, 247–59. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-56172-6_18.

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AbstractMost climate change education and research have focused on instilling individual scientific cognitive clarity instead of learning how to take climate actions together. This study utilized a practice lens to adjust focus away from an individual learner’s knowledge to the climate action practices collectively “carried,” (un)equally shared, and mutually shaped. Shove and colleagues’ conceptualization of practices was used to examine climate action practices at a Kindergarten to Grade 12 school in Canada using a whole institution approach to climate change education. A whole institution approach includes climate change education within and across each domain of Overall Governance, Teaching and Learning, Community Partnerships, and Facilities and Operations. Methods included a sensory walk, observations, interviews, focus groups, document collection, and photography. This chapter describes key themes identified within each of the whole institution domains with implications for a whole institution approach to CCE overall, as well as for each domain.
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Tsitsovits, Ioannis. „Reproduction as Literary Production: Self-Expression and the Index in Kenneth Goldsmith’s Uncreative Writing“. In New Directions in Book History, 291–308. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_12.

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AbstractThis chapter discusses Kenneth Goldsmith’s Uncreative Writing, a collection of essays that includes an account of his Uncreative Writing course at the University of Pennsylvania. Championing various forms of literary automatism and appropriation, which are often treated as a much-needed response to our contemporary digital environment, the book is offered as a counter-model to established notions of authentic, self-expressive writing. The article takes this position as a springboard into thinking about Goldsmith’s writing exercises in relation to a longer history of indexical artistic practices, most notably analog photography. Despite its own positioning vis-à-vis the digital, I claim, Goldsmith’s writing model can best be understood as an extension of a proto-photographic logic into the ambit of contemporary literature. At the same time, as I show, the use of textual reproduction central to his project has been a longstanding ingredient of self-expressive literary advice. I conclude by arguing that Goldsmith’s model is just as tied to a form of personal expression, albeit one following a less obviously self-expressive logic that resonates with online forms of indexical performativity.
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Cozzolino, Davide, und Luisa Verdoliva. „Multimedia Forensics Before the Deep Learning Era“. In Handbook of Digital Face Manipulation and Detection, 45–67. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-87664-7_3.

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AbstractImage manipulation is as old as photography itself, and powerful media editing tools have been around for a long time. Using such conventional signal processing methods, it is possible to modify images and videos obtaining very realistic results. This chapter is devoted to describe the most effective strategies to detect the widespread manipulations that rely on traditional approaches and do not require a deep learning strategy. In particular, we will focus on manipulations like adding, replicating, or removing objects and present the major lines of research in multimedia forensics before the deep learning era and the rise of deepfakes. The most popular approaches look for artifacts related to the in-camera processing chain (camera-based clues) or the out-camera processing history (editing-based clues). We will focus on methods that rely on the extraction of a camera fingerprint and need some prior information on pristine data, for example, through a collection of images taken from the camera of interest. Then we will shift to blind methods that do not require any prior knowledge and reveal inconsistencies with respect to some well-defined hypotheses. We will also briefly review the most interesting features of machine learning- based methods and finally present the major challenges in this area.
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Leung, Kei Yan. „Reflections on Doing Cross-Cultural Research Through and with Visual Methods“. In Co-Creativity and Engaged Scholarship, 265–97. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_9.

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AbstractAs a traditional and dominant practice of qualitative research, interviewing is heavily dependent on meanings constructed by language. In a cross-cultural setting, the challenge of adequately capturing what interviewees want to convey is well acknowledged by researchers. Indeed, meanings are not only tied to linguistic meanings but also to cultural practices. Moreover, when the focus of one’s research is to understand the mindsets and practices of farmers, focusing solely on spoken words may also hide the fact that farmers also engage with plants, soil and nature through emotions and feelings. In this chapter I will reflect on my personal experiences as a non-Japanese Asian researcher working with an interpreter during my field work in Japan. In the interviews I conducted with farmers, I used photographs of local artwork to elicit information to understand what relationships they may build between the artworks and their farming practices. I used photo elicitation to supplement the limitations of language in making sense of meanings tied to farming practices. Also, to convey results to a western audience, I explore the use of visual illustrations to complement verbal quotes to more fully convey the meaning of the quotes. Two main observations emerged from this cross-cultural experience: first, the gap between language and cultural meaning can provide valuable opportunities for researchers to experiment with different methods, that broaden our sensibilities beyond rational reasoning in data collection; second, using photography in interviews can unfold different layers of realities than talk-only interviews. I argue that visual methods can take us beyond language and open up a more diverse picture to understand the practices of farmers. It is therefore important for cross-cultural researchers to be reflexive about the limitations of language, transform these challenges to an opportunity to remake method and open up different layers of understanding.
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Snegireva, Ekaterina. „Notes on the Photography Collection“. In Russian Modernism in the Memories of the Survivors, 225–26. University of Toronto Press, 2021. http://dx.doi.org/10.3138/9781487527266-010.

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„Analyzing the Presentation of a Fashion Collection“. In Fashion Photography Archive. Bloomsbury, 2015. http://dx.doi.org/10.5040/9781474260428-fpa008.

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Konferenzberichte zum Thema "And the Alkazi Collection of Photography"

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Holm, Jack. „Survey of developing electronic photography standards“. In Critical Review Collection. SPIE, 1996. http://dx.doi.org/10.1117/12.229259.

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Arnold, Taylor, Nathaniel Ayers, Justin Madron, Robert Nelson und Lauren Tilton. „Visualizing a Large Spatiotemporal Collection of Historic Photography with a Generous Interface“. In 2020 IEEE 5th Workshop on Visualization for the Digital Humanities (VIS4DH). IEEE, 2020. http://dx.doi.org/10.1109/vis4dh51463.2020.00010.

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Truyen, Frederik, und Sofie Taes. „THE EUROPEANA THEMATIC COLLECTION ON PHOTOGRAPHY - AN OPEN RESOURCE FOR EDUCATION FROM PHOTOCONSORTIUM“. In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.2146.

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Rodriguez, Paul, Sandeep Puthanveetil, Jeffrey Will, Elizabeth Wuerffel und Alan Craig. „Extracting, Assimilating, and Sharing the Results of Image Analysis on the FSA/OWI Photography Collection“. In PEARC17: Practice and Experience in Advanced Research Computing 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3093338.3093365.

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Weiderhold, Joseph, David E. Lambert und Michael Hopson. „Experimental Design and Data Collection for Dynamic Fragmentation Experiments“. In ASME 2010 Pressure Vessels and Piping Division/K-PVP Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/pvp2010-25163.

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Experiments have been conducted to investigate the fracture and fragmentation characteristics of a liquid phased sintered (LPS) tungsten and high strength steel alloys. Metal cylinders, each of which was 20.32 cm tall and 5.08 cm inner/5.88 cm outer diameter, were explosively driven to failure. Two complimentary types of experiments were conducted in this series to determine input parameters for a related continuum mechanics based modeling effort. Open air experiments utilized ultra-high speed framing photography and a photonic Doppler velocimetry system (PDV). The information from these experiments provided a case wall velocity, relative time of breakup and strain-rate during the stress loading timeframe. Complimentary experiments were conducted in a water tank to perform a soft recovery of the fragments. The fragments were subsequently cleaned, massed, and characterized according to their mass and failure strain distributions. Various methods of analyzing the data (Mott & Weibull distributions) are discussed along with the calibration of the continuum damage model parameters. Results of the failure strain analysis, fragment distribution, and damage model are then supplied for use in subsequent modeling and application designs. Further details of the modeling and simulation approach are outlined in a complimentary set of two papers presented by Lambert [1] and Hopson [2].
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Sakamoto, Haruo, Yoshiya Takemura und Yukari Yanamoto. „Design and Manufacturing of Radio-Controlled Motor Glider for Information System“. In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-34369.

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This research and development aims the development of the disaster information system by the network for the disaster information collected at the time of disasters such as earthquakes, storm, or flood. This system uses a small unmanned aircraft for the aerial photography. The system sends the aerial photography information to the ground. The damage state can be understood by the monitoring television, when the system is established. The radio-controlled motor glider is used as a small unmanned aircraft. The gliding performance can be effectively obtained with small energy, and the flight time expected is to be long. Two small wireless cameras and GPS receivers are loaded as an information collection system. The glider was designed and produced by the materials such as balsa wood and plywood board. The wing length is 2 m long, and the weight of the aircraft body is 813g. The weight of the aircraft body contains about 140 g of the information collection system. A flight experimentation was conducted. The location is the campus of the Kochi University of Technology, where the permission of the flight experiment was obtained there. The information collection system successful worked within half the range of the university campus as a result of the flight experimentation. This research and development concluded that the information collection system in the range of the university campus was possible.
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DAVIDENKO, Pavel. „Creation of multimedia didactical tools for the development of students’ research abilities“. In Inter/transdisciplinary approaches in the teaching of the real sciences, (STEAM concept) = Abordări inter/transdisciplinare în predarea ştiinţelor reale, (concept STEAM). Ion Creangă Pedagogical State University, 2023. http://dx.doi.org/10.46727/c.steam-2023.p401-404.

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The article is devoted to the problem of creating multimedia didactic tools for organizing training sessions to develop students' research abilities. The author is interested in photography and video shooting. Together with Andrey Davidenko, they created a large collection of such funds. This article draws attention to the advisability of using them both in lessons and in extracurricular work in physics. An idea is expressed regarding the involvement of students in the activities of creating multimedia.
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Wolken, Jerome J. „The design of an optical scope for the visually impaired“. In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.tus6.

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In search of innovative optical systems, I have turned to the eye structure of rare, deep sea animals that live at depths of 200500 m, where the light is limited and comes primarily from bioluminescence. Eyes have considerable inventiveness in their optical design among these marine animals. In the crustacean copepod copilia the eye has a biconvex lens (L1) and, at some distance away, an aspherical lens (L2), a telescopic eye. The shape of the L2 lens is optimized for light collection and acts like a fiber-optic bundle. The focal point of the optics is a small area of the retina. The retina rapidly moves back and forth, and the organism's eye scans much like the electron beam scans a television screen. The animal's eye structure was modeled, and lenses L1 and L2 (glass and polymers) were shaped into the calculated curvatures and geometry. The focal lengths of the lenses were determined and fitted into an optical scope. The scope was tested for imaging of near, far, and moving objects. Sharp images were obtained from 25 cm to infinity at relatively low light levels. Tests of prototype scopes indicate that they have application for the visually impaired, and the lens L2 can be adapted for optical scanning, photography, and solar energy collection.
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Carabal-Montagud, María Ángeles, Virginia Santamarina Campos, María Del Val Segarra Oña und María Blanca De Miguel-Molina. „Desarrollo de la competencia tecnológica en el marco STEAM para la docencia universitaria: experiencia en el Museu de Belles Arts de València“. In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.11971.

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STEAM is an innovative teaching-learning process based on Science, Technology, Engineering, Arts and Maths competences. Accordingly with this new approach, a team of Fine Arts and Management professors are currently leading an innovative project based on "Applying STEAM Strategies in the Social Sciences and Arts Areas”. The objective is to establish links between the different STEAM competences -science, technology, engineering, art and mathematics- as a common element in classrooms, enhancing technological training. This new approach motivates students and connects teaching to present society’s needs. In this paper we present an analysis of a teaching experience outside the classroom, developed at the Museu de Belles Arts in Valencia (Spain). In this activity, several tools that use technology with which the students are familiar are used, in which is called “BYOD” (Bring Your Own Device). In this case we analyze the use of the photography as a teaching tool. Some of the characteristics of the activity include free time and different spaces at the museum, DIY -Do it Yourself-, cooperative teamwork, peer learning, integration of theory into practice, flexible thinking and analytical skills. The activity looks to motivate them through gamification. After data collection, debriefing is used for integrating results.
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Vicente, José. „Vernacular Products: An Example to Circular Design“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002026.

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Throughout most mankind’s history our daily life artifacts have been designed, produced, and used with respect for social and environmental constrains and within the carrying capacity of ecosystems. Also, they have been created to fulfill tangible and specific needs (not desires) of individuals and communities to their daily tasks and have sustained a thorough process of evolution and adaptation to the cultural and environmental context and, so, have been perfected over time. It has been only with the technological and cultural changes implemented with the industrial revolution that several unbalances have been created in the relation between our material culture and the natural world. It stands to reason that there are lessons to be learned from those previous times, from their habits and, with a design perspective, from their products. This paper presents an analysis of vernacular objects identifying design features related to morphology, functionality, production, material, and use. This text presents as case study a set of vernacular objects from the rural life collection of the Portuguese National Museum of Ethnology. The analysis was made with support of literature, drawing and photography, and adapting some examples from previous studies of vernacular heritage and architecture. These products serve as example of the incorporation of circular product design strategies.
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Berichte der Organisationen zum Thema "And the Alkazi Collection of Photography"

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Taverna, Kristin. Vegetation classification and mapping of land additions at Richmond National Battlefield Park, Virginia: Addendum to technical report NPS/NER/NRTR 2008/128. National Park Service, September 2022. http://dx.doi.org/10.36967/2294278.

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In 2008 and 2015, the Virginia Department of Conservation and Recreation, Division of Natural Heritage produced vegetation maps for Richmond National Battlefield Park, following the protocols of the United States Geological Survey (USGS) – National Park Service (NPS) Vegetation Mapping Program. The original 2008 report was part of a regional project to map and classify the vegetation in seven national parks in Virginia. The 2015 report was an addendum to the original report and mapped the vegetation in newly acquired parcels. Since 2015, the park has acquired an additional 820 acres of land within 12 individual parcels, including the 650 acre North Anna unit. This report is an addendum to the 2008 and 2015 reports and documents the mapping of vegetation and other land-use classes for the 12 new land parcels at Richmond National Battlefield Park, with an updated vegetation map for the entire park. The updated map and associated data provide information on the sensitivity and ecological integrity of habitats and can help prioritize areas for protection. The vegetation map of the new land parcels includes eighteen map classes, representing 14 associations from the United States National Vegetation Classification, one nonstandard, park-specific class, and three Anderson Level II land-use categories. The vegetation classification and map classes are consistent with the original 2008 report. Vegetation-map classes for the new land parcels were identified through field reconnaissance, data collection, and aerial photo interpretation. Aerial photography from 2017 served as the base map for mapping the 12 new parcels, and field sampling was conducted in the summer of 2020. Three new map classes for the Park were encountered and described during the study, all within the North Anna park unit. These map classes are Coastal Plain / Outer Piedmont Basic Mesic Forest, Northern Coastal Plain / Piedmont Oak – Beech / Heath Forest, and Southern Piedmont / Inner Coastal Plain Floodplain Terrace Forest. The examples of Coastal Plain / Outer Piedmont Basic Mesic Forest and Southern Piedmont / Inner Coastal Plain Floodplain Terrace Forest at North Anna meet the criteria of size, condition, and landscape context to be considered a Natural Heritage exemplary natural community occurrence and should be targeted for protection and management as needed. New local and global descriptions for the three map classes are included as part of this report. Refinements were made to the vegetation field key to include the new map classes. The updated field key is part of this report. An updated table listing the number of polygons and total hectares for each of the 28 vegetation- map classes over the entire park is also included in the report. A GIS coverage containing a vegetation map for the entire park with updated Federal Geographic Data Committee (FGDC) compliant metadata was completed for this project. The attribute table field names are the same as the 2008 and 2015 products, with the exception of an additional field indicating the year each polygon was last edited.
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